Les cadeaux de bâtiment de la maternelle . quatre blocs extérieurs autour des quatre intérieurs, d'abord à droite, puis à gauche, sont désignés par Froebel comme les 104 Le; cadeaux de bouée de la maternelle. (danse des blocs; le nom suggère la dancede la saison, la danse de la nature, en fait themysterious oscillation interminable des planètes aroundthleur soleil central est parfois appelé la danse des mondes. Depuis le moment où les étoiles du matin chantaient à gether tout mouvement rythmique, grand ou petit, a été une joie pour l'esprit poétique. Toute la nature est un processus de mouvement. Même la stoneon t terne et sans vie

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The kindergarten building gifts . four outerblocks around the four inner ones, first to the right, then to the left, are designated by Froebel as the 104 The; kindergarten buieding gifts. (dance of the blocks; the name suggests the danceof the season, the dance of nature, in fact themysterious endless swinging of the planets aroundtheir central sun is sometimes called the dance ofthe worlds. Since the time when the morning stars sang to-gether all rhythmic motion, whether large or small, has been a joy to the poetic mind. All nature is ina process of movement. Even the dull, lifeless stoneupon the road side holds within itself the possibilityof speeding swiftly to the center of the earth wereall intervening matter removed; the cold, silentwhiteness of the winters landscape is but the outercovering of throbbing, stirring life that sooner orlater shall burst forth into the surging, swellinggrowth of the springtime; the bud so strongly shel-tered in its outside wrappings is growing, movingon towards its blossoming period!. No. 15. Showing a sequence of four moves in forms of beauty, inwliich the blocks touch, a—Face to face. 6—Edge to edge, c—Edge toface, d—Face to edge. The childs mind may be prepared, to a certainextent, for this truly scientific, as well as beautifully THE THIRD GIET. 105 poetic view of nature, by being trained to see totalprocesses where as yet only one stage of the processcan be seen, to know the future possibilities as wellas the present aspect of any object. Sometimes it is well to have one child make thefirst form of a series of rhythmic movements, thenext child make the second step, the third make thethird step and so on. In this way the children seeall the movements in the process. At another time, it may be well to have each child lay all the steps inthe process, thus making it more of a thought processthan in the former case. Many little rhythmic plays may arise from theseexercises with the blocks; for example, the childrendelight in c

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